Mimari formun evrim anlatısı ve canlı form hali

The concept of form in architectural design has been debated since prehistoric times. In its most straightforward meaning, form can be defined as the shape, shell, and inhabited volume of a structure. This study aims to explore the historical process of the transformation and evolution of form, as well as to discover new meanings and potentials of form through analysis, and to develop a critical perspective on form. The study is structured around three main axes. In the first stage, a mapping is designed to analyze the evolution of form throughout history. This mapping focuses on the changes in the approach to form, design, and making techniques chronologically. This stage reveals that form is no longer merely a final product represented by drawings or statically produced, but rather a concept that involves process and dynamism in a temporal-spatial dimension, whether in its design or production. In the second stage, the evolution of form is discussed through a new concept called ‘vital form’. While form represents something static or stationary, vital form signifies a dynamic and fluid state. While form is symbolically designed or produced by the designer from top to bottom, vital form represents a bottom-up, autonomous state formed by the influence of actors involved in design or production. Subsequently, the relationships, transitions, interactions, and changes between form and vital form, as well as their interpretations, are discussed within the proposed model in the study, based on conceptual sets derived from theoretical debates and the implications in design and making processes. It is believed that such exploration and awareness of form in architecture will bring new dimensions to the contemporary understanding, design, and making practices of form.Mimarlık tasarımında form kavramı, tarih öncesi dönemlerden beri tartışılmaktadır. En yalın haliyle, form, yapının şekli, kabuğu, içinde yaşanan hacim olarak ifade edilebilir. Çalışmada hedeflenen, tarihsel süreçteki formun değişimini ve evrimini analiz ederek yeni anlamlarını ve potansiyellerini keşfedebilmek ve form üzerine eleştirel bir bakış açısı geliştirebilmektir. Bu hedef doğrultusunda çalışma üç ana eksen üzerinde kurgulanmıştır. İlk aşamada, tarihsel süreçte formun evrimini analiz etmek için tasarlanmış bir haritalama yer almaktadır. Bu haritalama ile kronolojik olarak, formun ele alınış biçimindeki değişimler, form tasarım ve üretim tekniklerine odaklanılarak tartışılmaktadır. Bu aşama ile, formun artık sadece çizimlerle temsil edilen ya da statik olarak üretilen nihai bir ürün olmadığı, aksine zaman-mekânsal bir düzlemde, tasarımında ya da üretiminde süreç ve dinamizm içeren bir kavram olduğu anlaşılmaktadır. İkinci aşamada ise, formun evrimi 'canlı form' (vital form) olarak ifade edilen yeni bir kavram üzerinden tartışılmaktadır. Form, statik veya durağanı temsil ederken, canlı form, dinamik ve devingen bir hal tarif etmektedir. Form, tasarımcı tarafından yukarıdan aşağıya sembolik olarak tasarlanan veya oluşturulanı ifade ederken, canlı form, tasarım veya üretimine etkide bulunan aktörlerin etkisiyle aşağıdan yukarıya oluşan, otonom olan bir hal ifade etmektedir. Ardından, çalışma kapsamında önerilen model üzerinde, form ve canlı form arasındaki ilişkiler, geçişler, etkileşimler, değişimler; kuramsal tartışmalardan elde edilen kavram setleri ve üretim, tasarım süreçlerindeki açılımları birlikte ele alınmakta ve yorumlanmaktadır. Mimarlıkta forma ilişkin böyle bir okumanın, farkındalığın, günümüz form kavrayışına, tasarlama ve üretme pratiklerine yeni açılımlar getireceğine inanılmaktadır.Publisher's Versio

FABRICAÇÃO ROBÓTICA EM ARQUITECTURA - Princípios, processos e aplicações

A crescente exploração da tecnologia robótica em vários centros de investigação epráticas de arquitetura, justifica a pertinência deste trabalho. Este procura desenvolveruma reflexão crítica sobre esta tecnologia, assim como alguns dos seus processos eaplicações até à data deste trabalho.Depois de uma tentativa de introdução da robótica na construção, que ocorreu no Japãodurante as décadas de 80 e 90, a integração desta tecnologia no campo da arquiteturaganhou um novo fôlego a partir de 2005. Resgatada por arquitetos que encontraram nobraço robótico industrial um potencial aliado para a materialização das suas ideias maiselaboradas. Desde esse período, tem-se assistido a um aumento na investigação darobótica aplicada à arquitetura, que tem conduzido à concretização de vários projetosinovadores.O objetivo desta dissertação concentra-se sobretudo no estudo da assimilação e utilizaçãodo braço robótico na arquitetura, identificando o percurso histórico desta tecnologia, bemcomo os seus princípios e processos fundamentais. Para além disso, pretende-se tambémrefletir sobre a forma como este instrumento de trabalho está a ser acolhido na arquiteturae na construção, moldando as relações profissionais no mundo da construção.Para este estudo, recorreu-se a uma seleção de casos de estudo, organizados de acordocom critérios de metodologia e manipulação do material, além da reconhecida qualidadearquitetónica que estes projetos atingiram. Procura-se assim perceber criticamente asvantagens que esta tecnologia pode oferecer à arquitetura, questionando o paradigma daprodução em série e fortalecendo a emergência do conceito de Personalização em Série (Mass-Customization).The increasing integration of robotic technologies in various research centres, as well asarchitecture practices, justifies the pertinence of this study, which seeks to develop acritical reflection about these technologies, as well as some of its processes andapplications known up to this date.After an attempt to introduce robotics in construction - which occurred in Japan duringthe late 80's and 90's - the exploration of this technology took a new breath after 2005,revived by architects who found in the industrial robotic arm a potential ally to materializetheir most elaborate ideas. Since that period, investigations related to robotics applied toarchitecture have increased, which lead to the realization of several innovative projects.The objective of this work will focus mainly on study of assimilation and use of therobotic arm in architecture, identifying the historical background of this technology, aswell as its fundamental principles and processes. Furthermore, it is also intended to reflecton the ways in which this tool is being accepted in the fields of architecture andconstruction, shaping professional relations in the world of construction.For this study, this dissertation uses a selection of case studies organized per criteria ofmethodology and material manipulation process, as well as the recognized architecturalquality these projects have achieved. It thus intends to critically understand theadvantages that this technology can bring to architecture, questioning the paradigm ofmass production and strengthening the uprising concept of Mass-Customization

Situating environmental design in the studio: an ecological learning approach

This work explores the problem of implementation of environmental design in architectural training. This problem has been identified as a disconnection between the delivery of information by lecturing, and the application of that information in the studio. The essential nature of students in that view is passive, and their task is to correctly apply information developed by others. This work pursues the idea that 'environmental knowledge' can be grown from within the conversational nature of the design process based on the active nature of the student. The main contribution is the proposal of an ecological approach to learning, in which the whole person of the learner is deeply engaged with his learning environment. The present understanding has been informed mainly by the ecological approach to perception of James Gibson, and the conception of design of Donald Schon. Through the view of Donald Schon, environmental design comes forth as a particular instance of 'conversations' with environmental situations, involving the modeling of actual phenomena, as a central element of the learning process. Seen from an ecological approach to learning, the implementation of those 'conversations' appears as part of a larger orchestration of affordances of the learning environment, involving tangible and intangible resources. This proposal is intended to illuminate other implementation strategies of environmental design in other schools

Situating environmental design in the studio: an ecological learning approach

This work explores the problem of implementation of environmental design in architectural training. This problem has been identified as a disconnection between the delivery of information by lecturing, and the application of that information in the studio. The essential nature of students in that view is passive, and their task is to correctly apply information developed by others. This work pursues the idea that 'environmental knowledge' can be grown from within the conversational nature of the design process based on the active nature of the student. The main contribution is the proposal of an ecological approach to learning, in which the whole person of the learner is deeply engaged with his learning environment. The present understanding has been informed mainly by the ecological approach to perception of James Gibson, and the conception of design of Donald Schon. Through the view of Donald Schon, environmental design comes forth as a particular instance of 'conversations' with environmental situations, involving the modeling of actual phenomena, as a central element of the learning process. Seen from an ecological approach to learning, the implementation of those 'conversations' appears as part of a larger orchestration of affordances of the learning environment, involving tangible and intangible resources. This proposal is intended to illuminate other implementation strategies of environmental design in other schools

Proceedings of the 9th Arab Society for Computer Aided Architectural Design (ASCAAD) international conference 2021 (ASCAAD 2021): architecture in the age of disruptive technologies: transformation and challenges.

The ASCAAD 2021 conference theme is Architecture in the age of disruptive technologies: transformation and challenges. The theme addresses the gradual shift in computational design from prototypical morphogenetic-centered associations in the architectural discourse. This imminent shift of focus is increasingly stirring a debate in the architectural community and is provoking a much needed critical questioning of the role of computation in architecture as a sole embodiment and enactment of technical dimensions, into one that rather deliberately pursues and embraces the humanities as an ultimate aspiration

Information agglomerates-- an organic representation for quantitative information

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1998.Includes bibliographical references (leaves 140-143).Matthew Richard Grenby.M.S

Design revolutions: IASDR 2019 Conference Proceedings. Volume 2: Living, Making, Value

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 2 includes papers from Living, Making and Value tracks of the conference

Digital re-analysis of lost or unbuilt architecture

The research presented here utilises contemporary digital techniques enabling a consistent analytical technique to systematically study significant works of unbuilt, damaged and destroyed architecture. The analytical technique provides a methodology that can be utilised for future research employing digital tools in the context of investigating historic works of architecture. Digital representation tools are therefore used to re-analyse and re-interpret unbuilt, damaged and destroyed works of architecture. This augments research already undertaken by architectural historians, who provide traditional critique and analysis, by testing such studies further using a range of contemporary digital techniques. The research is significant as it demonstrates how contemporary representation techniques can advance knowledge and understanding of significant architectural designs that once existed, or could have once existed. Consequently, this enhanced understanding can then be used to add to knowledge already attained about a particular architect and buildings they designed. Three case studies by important twentieth century architects were used to demonstrate and advance the methodological process provided. These were an unbuilt student project by Sir James Stirling, a pair of unbuilt museum projects by Auguste Perret, and a partially built cathedral design by Sir Edwin Lutyens. Each case offered its own benefits in researching the analytical technique. The Stirling case study enabled the techniques and principles of the methodological process to be established and demonstrated that it could provide enhanced understanding of an architect’s work. The Perret case study was important in finding unexpected results as part of the digital representation construction process, which enabled the methodology to be revised to take into account the significance of serendipity in the research. The Lutyens case study was particularly successful in developing lines of enquiry through looking at primary and secondary source data available for a design, which could then be used to re-analyse and enhance understanding of the design using digitally augmented techniques. The findings offer enhanced understanding of using digital tools as a technique to study unbuilt, damaged and destroyed works of architecture. In the first instance they demonstrate the significance of the process of constructing digital representations of such architectural artefacts. During this process inferences have to be made as representational source data such as architectural drawings are almost always incomplete, therefore parallel study into the architect, their architecture and the contemporary context they worked within has to be investigated in order to fill in gaps in an informed way. It is during this investigative process that enhanced critical understanding of an architect and their architecture is achieved. The findings also illustrate how contemporary digital tools can be used to augment and enhance knowledge of unbuilt, damaged or destroyed works of architecture by following particular lines of enquiry generated through the study of primary and secondary source data. The key here is the advanced knowledge that digital techniques bring when compared against critique of a work of architecture that was established in a pre-digital context

World Multidisciplinary Civil Engineering- Architecture- Urban Planning symposium

We would like to express our sincere gratitude to all 900+ submissions by 600+ participants of WMCAUS 2018 from 60+ different countries all over the world for their interests and contributions in WMCAUS 2018. We wish you enjoy the World Multidisciplinary Civil Engineering-Architecture-Urban Planning Symposium – WMCAUS 2018 and have a pleasant stay in the city of romance Prague. We hope to see you again during next event WMCAUS 2019 which will be held in Prague (Czech Republic) approximately in the similar period